Gita Govinda
Ashtapadi #11 
Dheera Sameere  

Lyrics 

rati-sukha-sāre gatam abhisāre madana-manohara-veśam |
na kuru nitambini gamana-vilambanam anusara taṃ hṛdayeśam ||1||

dhīra-samīre yamunā-tīre vasati vane vanamālī |
gopī-pīna-payodhara-mardana-caṃcala-karayuga-śālī ||dhruvapadam||

nāma sametaṃ kṛta-saṅketaṃ vādayate mṛduveṇum |
bahu manute nanu te tanu-saṅgata-pavana-calitam api reṇum ||2||

patati patatre vicalati patre śaṅkita-bhavad upayānam |
racayati śayanaṃ sacakita-nayanaṃ paśyati tava panthānam ||3||

mukharam adhīraṃ tyaja mañjīraṃ ripum iva kelisu lolam |
cala sakhi kuñjaṃ satimira-puñjaṃ śīlaya nīla-nicolam ||4||

urasi murārerupahita-hāre ghana iva tarala-balāke .
taḍid iva pīte rati-viparīte rājasi sukṛta-vipāke ||5||

vigalita-vasanaṃ parihṛta-rasanaṃ ghaṭaya jaghanam api dhānam .
kisalaya-śayane paṅkaja-nayane nidhim iva harṣa-nidānam ||6||

harirabhimānī rajaniridānīm iyam api yāti virāmam .
kuru mama vacanaṃ satvara-racanaṃ pūraya madhuripu-kāmam ||7||

śrījayadeve kṛtahariseve bhaṇati parama-ramaṇīyam .
pramudita-hṛdayaṃ harim atisadayaṃ namata sukṛta-kamanīyam ||8||



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C 1 rati sukha sArE gatamabhi sArE madana manOhara vESam
nakuru nitambini gamana vilambana manusaratam hrudayESam
dheera sameerE yamunAteerE vasati vanE vanamAlee
gOpee peena payOdhara mardana chanchala karayuga SAlee ||  Oh dear Radha, go quickly to meet your beloved Krishna who is beautiful like Manmadha.The breeze is blowing gently. Krishna is waiting in Brundavana on the bank of Yamuna river. His hands play on the breasts of Gopikas.  
C 2 nAmasamEtam kruta sankEtam vAdayatE mrudu vENum
bahu manutE nanutE tanu sangata pavana chalitamapi rENum||dheera||  Krishna is playing flute calling your name, indicating where he was waiting for you. He admires even the breeze passing over you and reaching him.  
C 3 patati patatrE vichalati patrE Sankita bhava dupayAnam
rachayati Sayanam sachakita nayanam paSyati tava pandhAnam||dheera||  He is alarmed even when a feather or dry leaf drops. He is setting on bed of tender leaves and is excited about your arrival.  
C 4 mukhara madheeram tyaja manjeeram ripumiva kELishu lOlam
chala sakhi kunjam sa timira punjam Seelaya neela nichOLam||dheera||  Oh Radha, leave off your anklets lest they make noise when you meet him. Please go to that bower during night in black dress.  
C 5 urasi murArE rupahita hArE ghanaiva taraLa balAkE
taTidiva peetE rati vipareetE rAjasi sukruta vipAkE||dheera||  When you meet Krishna your pearl necklaces fall on his chest. You shine like lightening on his chest which resembles dark clouds with white Sarasa birds.  
C 6 vigaLita vasanam parihruta rasanam ghaTaya jaghanamapidhAnam
kisalaya SayanE pankaja nayanE nidhimiva harsha nidAnam||dheera||  Your eyes are beautiful like lotus flower. You are treasure of beauty lying on bed of tender leaves. You are bestower of happiness.  
C 7 harirabhimAnee rajani ridAnee miyamapiyati virAmam
kuru mama vachanam satvara rachanam pooraya madhuripu kAmam||dheera||  Krishna is a person with self-respect. The night is ending He would be angry if you make delay. Go soon and fulfill his wish.  
C 8 Sri jayadEvE kruta harisEvE bhaNati parama ramaNeeyam kamaneeyam
pramudita hrudayam harimati sadayam samata sukruta||dheera||  Poet Jayadeva tells this delightful story of love between Radha and Krishna with utmost devotion. Oh devotees, bow to the most benevolent lord Krishna with pious hearts. 


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अष्टपदि ११ -साकांक्श पुंडरीकोत्कधा मधुरम्



रतिसुखसारे गतमभिसारे मदनमनोहरवेशम् ।
न कुरु नितम्बिनि गमनविलंबनमनुसर तम् हृदयेशम् ।
गोपी पीनपयोधरमर्दनचंचलकरयुगशाली ।
धीर समीरे यमुना तीरे वसति वने वनमाली - धृवम्॥ अ प ११-१

प-छे :- रति सुख सारे गतम् अभिसारे मदन मनोहर वेशम् न कुरु नितम्बिनि
गमन विलंबनम् अनुसर तम् हृदय ईशम् गोपी पीन पयोधर मर्दन
चंचल कर युग शाली धीर समीरे यमुना तीरे वसति वने वनमाली

a pa 11-1. hè nitambini= oh, high-hipped one, Rādha; rati sukha saare= [a place which has] connubial, blissful, quintessentially; abhisaare gatam= in preset place, he has gone in [available]; madana manohara vesham= in an arousing, lovely, mien [here, veSam is not getup; not like Lovegod's getup, as he is formless to wear any getup; even if it is so, it is an inferior getup than that of Krishna ]; na kuru= don't, do; gamana vilambanam = in going, delay; anusara tam hR^idaya iisham= follow, him, [your] heart's, lord; gopii = milk maids; piina payodhara= bosomy, busts [hence the milkmaids are too cocky, with vanity]; mardana= [lexically] in massaging [or, manipulate, to engineer of, to artifice] ; ca.ncala= moving [active, or, have a sleight of hand]; kara yuga shaalii= hands, a couple of, he who is having;

reprise: dhiira samiire= in gentle, wind [breezy]; yamunaa tiire= on Yamuna, riverbank; vasati vane= located in [lingering in,] garden; vanamaalii = one who wears leafy garland, Krishna.

"Oh, high-hipped Rādha, he is now available in that preset place, a quintessentially blissful place for connubial bliss, with his lovely and heart-stealing mien; hence go nigh of the lord of your heart who alone has a couple of hands that have a sleight of hand to engineer the busty bosoms of milkmaids of their vanity... don't linger to go... for Krishna is lingering in that breezy garden on that riverbank of Yamuna... [a pa 11-1]


नामसमेतम्कृतसंकेतम्वादयतेमृदुवेणुम् ।

बहुमनुतेननुतेतनुसंगतपवनचलितमपिरेणुम्॥ अ प ११-२

प-छे :- नाम समेतम् कृत संकेतम् वादयते मृदु वेणुम् बहु मनुते
...ननु ते तनु संगत पवन चलितम् अपि रेणुम्

a pa 11-2. hè raadhe; te naama sametam= your, name, coupled with [while fluting he uses your names as lyrics, and that flute sings 'ha, Rādha, 'o, beauty, o, goddess of love etc]; kR^ita sa.nketam = made, indication [he made an indication to bring you to that preset bower where he will be fluting; or, kR^ita sa.nketam vaadayate mR^idu veNum= to make, indication, he plays, softly; [he indicates his place of tarrying with his soft fluting]; nanu= definitely; te tanu sa.ngata= to your, body, attached; pavana chalitam api reNum= by air, moved, even, particle [of pollen etc]; bahu manute [aalingane]= highly, dotes on, [to embrace]; reprise: dhiira samiire &c

"O, Rādha, he uses your lyrical names as the lyrics of his fluting; he indicates himself with such a soft fluting; he dotes on to embrace any particle of pollen vagrant from your body, when air wafts them to his near, then why harping about your embrace... so, doesn't linger to go... [a pa 11-2]


Due to the limitation on the number of characters that can be posted here, the rest of the ashtapadis in this sarg can be found at this URL

http://www.facebook.com/media/set/?set=a.2605764595641.2099496.1600702242&type=3#!/photo.php?fbid=2610282148577&set=a.2605764595641.2099496.1600702242&type=3&theater

Dheera Samire by Pandit Raghunath Panigrahi

Mahālakṣmi Aṣṭakam from the Padma Purāṇa is an inspiring prayer devoted to Goddess Lakṣmī to invite abundance and beauty into our lives. Said to have been recited by Indra, the Goddess is exclaimed as an enchantress and the verses describe incredible visualisations that mesmerise the devotee. She grants success, intelligence & knowledge leading to liberation.

Mahālakṣmī Aṣṭakam

The Hanumen - Jai Hanuman

narasimha-kavacham vakshye
prahladenoditam pura
sarva-raksha-karam punyam
sarvopadrava-nashanam

sarva-sampat-karam chaiva
svarga-moksha-pradayakam
dhyatva narasimham devesham
hema-simhasana-sthitam

vivrtasyam tri-nayanam
sharad-indu-sama-prabham
lakshmyalingita-vamangam
vibhutibhir upashritam

catur-bhujam komalangam
svarna-kundala-shobhitam
saroja-shobitoraskam
ratna-keyura-mudritam

tapta-kancana-sankasham
pita-nirmala-vasasam
indradi-sura-maulishthah
sphuran manikya-diptibhih
virajita-pada-dvandvam
shankha-chakradi-hetibhih
garutmata cha vinayat
stuyamanam mudanvitam

sva-hrt-kamala-samvasam
krtva tu kavacham pathet
nrsimho me shirah patu
loka-rakshartha-sambhavah

sarvago ’pi stambha-vasah
phalam me rakshatu dhvanim
nrsimho me drshau patu
soma-suryagni-lochanah

smrtam me patu naraharih
muni-varya-stuti-priyah
nasam me simha-nashas tu
mukham lakshmi-mukha-priyah

sarva-vidyadhipah patu
nrsimho rasanam mama
vaktram patv indu-vadanam
sada prahlada-vanditah

narasimhah patu me kantham
skandhau bhu-bhrd ananta-krt
divyastra-shobhita-bhujah
narasimhah patu me bhujau

karau me deva-varado
narasimhah patu sarvatah
hrdayam yogi-sadhyash cha
nivasam patu me harih

madhyam patu hiranyaksha-
vakshah-kukshi-vidaranah
nabhim me patu naraharih
sva-nabhi-brahma-samstutah

brahmanda-kotayah katyam
yasyasau patu me katim
guhyam me patu guhyanam
mantranam guhya-rupa-drk

uru manobhavah patu
januni nara-rupa-drk
janghe patu dhara-bhara-
harta yo ’sau nr-keshari

sura-rajya-pradah patu
padau me nrharishvarah
sahasra-shirsha-purushah
patu me sarvashas tanum

manograh purvatah patu
maha-viragrajo ’gnitah
maha-vishnur dakshine tu
maha-jvalas tu nairrtah

pashchime patu sarvesho
dishi me sarvatomukhah
narasimhah patu vayavyam
saumyam bhushana-vigrahah

ishanyam patu bhadro me
sarva-mangala-dayakah
samsara-bhayatah patu
mrtyor mrtyur nr-keshari


idam narasimha-kavacham
prahlada-mukha-manditam
bhaktiman yah pathenaityam
sarva-papaih pramucyate

putravan dhanavan loke
dirghayur upajayate
yam yam kamayate kamam
tam tam prapnoty asamshayam

sarvatra jayam apnoti
sarvatra vijayi bhavet
bhumy antariksha-divyanam
grahanam vinivaranam

vrshchikoraga-sambhuta-
vishapaharanam param
brahma-rakshasa-yakshanam
durotsarana-karanam

bhuje va tala-patre va
kavacam likhitam shubham
kara-mule dhrtam yena
sidhyeyuh karma-siddhayah

devasura-manushyeshu
svam svam eva jayam labhet
eka-sandhyam tri-sandhyam va
yah pathen niyato narah

sarva-mangala-mangalyam
bhuktim muktim cha vindati
dva-trimshati-sahasrani
pathet shuddhatmanam nrnam

kavachasyasya mantrasya
mantra-siddhih prajayate
anena mantra-rajena
krtva bhasmabhir mantranam

tilakam bibhriyad yas tu
tasya graha-bhayam haret
tri-varam japamanas tu
dattam varyabhimantrya ca

prasayed yo naro mantram
narasimha-dhyanam acharet
tasya rogah pranashyanti
ye cha syuh kukshi-sambhavah

kimatra bahunoktena
narasimha sadrsho bhavet
manasa chintitam yattu 
sa tacchapnotya samshayam

garjantam garjayantam nija-bhuja-patalam sphotayantam hatantam
dipyantam tapayantam divi bhuvi ditijam kshepayantam kshipantam
krandantam roshayantam dishi dishi satatam samharantam bharantam
vikshantam purnayantam kara-nikara-shatair divya-simham namami

iti shri-brahmanda-purane prahladoktam shri-narasimha-kavacam sampurnam

Sri Narasimha Kavacam

Change (In The House Of Flies) Deftones Cover

the Hare Krishna Mahamantra sung in Raag Prabhaat by Swarupa Damodar Dasa.  The Mahamantra lyrics follow....

HARE KRISHNA MAHAMANTRA

Hare Krishna 
Hare Krishna
Krishna Krishna
Hare Hare
Hare Rama
Hare Rama
Rama Rama
Hare Hare

Srila Prabhupada says:

Rama and Krishna are names of God, and Hare is the energy of God. So when we chant the maha-mantra, we address God together with His energy. This energy is of two kinds, the spiritual and the material. At present we are in the clutches of the material energy. Therefore we pray to Krishna that He may kindly deliver us from the service of the material energy and accept us into the service of the spiritual energy. That is our whole philosophy. Hare Krishna means, "O energy of God, O God [Krishna], please engage me in Your service." It is our nature to render service. Somehow or other we have come to the service of material things, but when this service is transformed into the service of the spiritual energy, then our life is perfect.

Svarupa Damodara Dasa

Hare Krishna Maha-mantra 1 In Raag Prabhaat:  Swarupa Damodara Dasa Prabhu:

Raga Vardhana das - Pancha Tattva Maha-mantra

Radhe Govinda & Sri Krsna Caitanya Prabhupa composed by Narattoma Dasa Thakura and performed by Atmarama Dasa:

Radhe Radhe Govinda 
Govinda  Radhe

Sri Krsna Caitanya Prabhu
by Narottama Dasa Thakura:

1) My dear Lord Caitanya, please be merciful to me, because who can be more merciful than Your Lordship within these three worlds?
 
2) Your incarnation is just to reclaim the conditioned, fallen souls, but I assure You that You will not find a greater fallen soul than me. Therefore, my claim is first.
 
3) My dear Lord Nityananda, You are always joyful in spiritual bliss. Since You always appear very happy, I have come to You because I am most unhappy. If You kindly put Your glance over me, then I may also become happy.
 
4) My dear Advaita Prabhu, husband of Sita, You are so kind. Please be merciful to me. If You are kind to me, naturally Lord Caitanya and Nityananda will also be kind to me.
 
5) Gaura's love embodiment is shown by Gadadhara Pandita. Srinivasa Pandita and Haridasa Thakura are the ocean of mercy.
 
6) O Svarupa Damodara, personal secretary of Lord Caitanya, O six Gosvamis O Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri Raghunatha Bhatta Gosvami, Sri Gopala Bhatta Gosvami, Sri Jiva Gosvami, and Sri Raghunatha dasa Gosvami! O Lokanatha Gosvami, my beloved spiritual master! Narottama dasa also prays for your mercy.
 
7) O Srinivasa Acarya, successor to the six Gosvamis! Please be merciful to me. Narottama dasa always desires the company of Ramacandra Cakravarti.

Radha Govinda

Radhe Govinda & Sri Krishna Caitanya Prabhu ~ Atmarama Dasa:

Govinda

3. Vrindavan

"In Kali-yuga there is no other sadhana but to chant the Holy Name. It is the essence of all Vedic mantras and the purport of all sastra" - Sri Caitanya Mahaprabhu (Cc Adi 7.74)

Hare Krishna Hare Krishna Krishna Krishna Hare Hare Hare Rama Hare Rama Rama Rama Hare Hare...

4. Madhavananda - Shyamananda Kirtan Mandali

Sri Sri Guruv-astika, kirtan on guitar

For American born lead singer Gaura Mani, the love affair with kirtan began at a very young age.

“When I was two years old, living at the Detroit Devasadan Mandir, my mother would play tapes of Srila Prabhupada’s kirtan while she cooked,” Gaura Mani recalls.

From the early 1980s to mid 1990s, while she went to gurukula schools in Detroit, Los Angeles, and North Carolina, Gaura Mani would start singing kirtan at 4:00am every day, with the traditional mangala arati prayers. And from the age of six, she and her sister would play mridanga and harmonium at Krishna conscious home programs their parents held on weekends.

All this kirtan, coupled with visits every few years to Vrindavana, the land of Lord Krishna’s birth, left Gaura Mani deeply attached to the mischievous cowherd boy.
During one later visit to Vrindavana, Gaura Mani met her husband-to-be Param Dasa, who had moved there from Punjab with his family, and had joined ISKCON at seventeen.

“The first time I met him, he was singing kirtan in the temple, as he did every evening,” she says. “I just couldn’t get enough of his kirtan. Every time he sang it just melted my heart. We were formally introduced in front of my parents, and began to spend time with each other by doing kirtan together!” India, when we perform, audiences are attracted because we have a slightly Western style of kirtan,” she says. “They come for the Western feel, and then realize that they’re chanting Hare Krishna, calling out the Lord! The crowd goes completely wild, and their energy bounces back to me. It’s very real, very uplifting. I go into another dimension, like I’m not even in this world anymore.”

Developing their devotion and working on their craft through live performances, The Vrajavadhus finally released their first album “Take Me Home” An incredible 35,000 people, including members of the press, attended to chant and dance along as The Vrajavadhus played their album in full. “I feel like there’s nothing greater than to sing for Krishna,” Gaura Mani says. “Being united with Him in that way gives me the highest feeling of ecstasy. I pray to be constantly engaged in this service, and I never want it to end. Kirtan forever!”


Dedication
The Vrajavadhus Kirtanwali dedicate their humble service to the Founder Acarya of the International Society of Krishna Consciousness, His Divine Grace A.C. Bhaktivedanta Swami Srila Prabhupada. We pray for his blessings in spreading the movement of Sri Caitanya Mahaprabhu throughout the world.

 


Sri Narasimha Kavacam

Gaura Mani Devi